A recursive transitioning between dimensions demands changes in perspective, physically and theoretically. It (re)presents a design process: starting with the creation of one’s idea (dimension 1), developing into the materialisation of this idea (2, 3), evoking interpretation by the viewer (4) and therefore causing new ideas to form and new processes to start (dimension 1). Once past the fourth and last dimension of the cycle, the book literally repeats itself many a time. A recursive loop.

The design process presented must be repeatedly rationalised before it becomes intuition; a reference to Daniel Kahneman’s system 1 and 2 (Thinking Fast and Slow, 2013) which is elaborately discussed in Anne’s thesis.

By using the language of graphic design as a tool to remember, the input is translated step-by-step to a more memorable form - the large amount of information is reduced to its minimum, its framework. A conscious process is made from information to knowledge. The part of our brain, the Hippocampus, which transforms short-term memories into long-term is also responsible for our spatial orientation — emphasising the importance of location (ref: memory palace). To appeal to this associative, relational nature of our memory, the information is approached in the same manner. By appointing it specific locations and connecting related elements, linearity is dismantled. Visual overviews are created entailing complete underlying structures in one glance. By reducing the amount of ‘what to think of first’, there is a greater chance that the fundamental part is securely set in the mind, causing more and more association paths to be triggered, to the more elaborate version. Derived from a personal form of time-space synaesthesia.